#so many deaths in the first act?????????

[aromanticasterisms]

okay penacony has been very fun so far but the only thing to actually make me say Oh Shit out loud was acheron saying yae sakura's line. anyway

[spiderwarden]

The fact Minthara would be acting a little odd socially in Drow society, being just attributed to the fact her mother - Sos'umptu, was by all the accounts that are written about her, a social hermit, feels fitting somehow.

The way no one questioned her eventual discconnect at pleasure parties or disassociative stare in the middle of the noble talk. The way she would silently grieve the people she thought she could love or be her friends, because she wanted that familial and friendly connections so badly and no one recognized it. Oh, it's just High Priestess Sos'umptu's daughter, this is to be expected.

[unnamed-atlas]

Finally finished sweet tooth s3. Having incredibly mixed feelings

[turtlespancake]

me when i write a character who is prone to dooming themself and then they run off and doom themself. core traits are stubbornness and a willingness to disregard their own humanity gET BACK HERE IM NOT DONE WITH YOU

[longagoitwastuesday]

So so indebted to u for posting those lovely illustrations from Cyrano <333 & even more so for yr tags!! I'm completely in love w yr analysis, please feel free to ramble as long as u wish! Browsing through yr Cyrano de Bergerac tag has given me glimpses of so many adaptations & translations I'd never heard of before! I'll be watching the Solès version next, which I have only discovered today through u ^_^ As for translations, have u read many/all of them? I've only encountered the Renauld & Burgess translations in the wild, & I was curious to hear yr translation thoughts that they might guide my decision on which one I buy first (not necessarily Renauld or Burgess ofc). Have a splendid day & sorry for the likespam! 💙

Sorry for the delay. Don't mind the likespam, I'm glad you enjoyed my tags about Cyrano, and that they could contribute a bit to a further appreciation of the play. I loved it a lot, I got obsessed with it for months. It's always nice to know other people deeply love too that which is loved haha I hope you enjoy the Solès version, it may well be my favourite one!

About translations, I'm touched you're asking me, but I don't really know whether mine is the best opinion to ask. I have read... four or five English translations iirc, the ones I could find online, and I do (and especially did, back when I was reading them) have a lot of opinions about them. However, nor English nor French are my first languages (they are third and fourth respectively, so not even close). I just read and compare translations because that's one of my favourite things to do.

The fact is that no translation is perfect, of course. I barely remember Renauld's, but I think it was quite literal; that's good for understanding the basics of the text, concepts and characters, but form is subject, and there's always something that escapes too literal translations. Thomas and Guillemard's if I recall correctly is similar to Hooker's in cadence. It had some beautiful fragments, some I preferred over Hooker's, but overall I think to recall I liked Hooker's more. If memory serves, Hooker's was the most traditionally poetic and beautiful in my opinion. Burgess' is a whole different thing, with its perks and drawbacks.

Something noticeable in the other translations is that they are too... "epic". They do well the poetic, sorrowful, grief stricken, crushed by regrets aspects of Cyrano and the play in general, but they fall quite short in the funny and even pathetic aspects, and that too is key in Cyrano, both character and play. Given the characteristics of both languages, following the cadence of the French too literally, with those long verses, makes an English version sound far too solemn at times when the French text isn't. Thus Burgess changes the very cadence of the text, adapting it more to the English language. This translation is the one that best sets the different moods in the play, and as I said before form is subject, and that too is key: after all, the poetic aspect of Cyrano is as much true as his angry facet and his goofy one. If Cyrano isn't funny he isn't Cyrano, just as he wouldn't be Cyrano without his devotion to Roxane or his insecurities; Cyrano is who he is precisely because he has all these facets, because one side covers the other, because one trait is born from another, because one facet is used as weapon to protect the others, like a game of mirrors and smoke. We see them at different points through the play, often converging. Burgess' enhances that. He plays with the language itself in form and musicality, with words and absences, with truths masking other truths, with things stated but untold, much like Cyrano does. And the stage directions, poetic and with literary value in their own right in a way that reminded me of Valle Inclán and Oscar Wilde, interact with the text at times in an almost metatextual dimension that enhances that bond Cyrano has with words, giving them a sort of liminal air and strengthening that constant in the play: that words both conceal and unveil Cyrano, that in words he hides and words give him away.

But not all is good, at all. Unlike Hooker, Burgess reads to me as not entirely understanding every facet of the characters, and as if he didn't even like the play all that much, as if he had a bit of a disdainful attitude towards it, and found it too mushy. Which I can understand, but then why do you translate it? In my opinion the Burgess' translation does well bending English to transmit the different moods the French text does, and does pretty well understanding the more solemn, cool, funny, angry, poetic aspects of Cyrano, but less so his devotion, vulnerability, insecurities and his pathetism. It doesn't seem to get Roxane at all, how similar she is to Cyrano, nor why she has so many admirers. It does a very poor job at understanding Christian and his value, and writes him off as stupid imo. While I enjoyed the language aspect of the Burgess translation, I remember being quite angry at certain points reading it because of what it did to the characters and some changes he introduces. I think he did something very questionable with Le Bret and Castel-Jaloux, and I remember being incensed because of Roxane at times (for instance, she doesn't go to Arras in his version, which is a key scene to show just how much fire Roxane has, and that establishes several parallels with Cyrano, in attitude and words, but even in act since she does a bit what Cyrano later does with the nuns in the last act), and being very angry at several choices about Christian too. While not explicitly stated, I think the McAvoy production and the musical both follow this translation, because they too introduce these changes, and they make Christian as a character, and to an extent the entire play, not make sense.

For instance, once such change is that Christian is afraid that Roxane will be cultured (McAvoy's version has that infamous "shit"/"fuck" that I detest), when in the original French it's literally the opposite. He is not afraid she will be cultured, he is afraid she won't, because he does love and appreciate and admires those aspects of her, as he appreciates and admires them in Cyrano. That's key! Just as Cyrano longs to have what Christian has, Christian wants the same! That words escape him doesn't mean he doesn't understand or appreciate them. The dynamics make no sense without this aspect, and Burgess (and the productions that directly or indirectly follow him) constantly erases this core trait of Christian.

Another key moment of Christian Burgess butchers is the scene in Arras in which Christian discovers the truth. Burgess writes their discussion masterfully in form, it's both funny and poignant, but it falls short in concept: when Cyrano tells him the whole discussion about who does Roxane love and what will happen, what they'll do, is academic because they're both going to die, Christian states that dying is his role now. This destroys entirely the thing with Christian wanting Roxane to have the right to know, and the freedom to choose, or to refuse them both. As much as Cyrano proclaims his love for truth and not mincing words even in the face of authority, Cyrano is constantly drunk on lies and mirages, masks and metaphors. It's Christian who wants it all to end, the one who wants real things, the one who wants to risk his own happiness for the chance of his friend's, as well as for the woman he loves to stop living in a lie. That is a very interesting aspect of Christian, and another aspect in which he is written as both paralleling and contrasting Cyrano. It's interesting from a moral perspective and how that works with the characters, but it's also interesting from a conceptual point of view, both in text and metatextually: what they hold most dear, what they most want, what most fulfills them, what they most fear, their different approaches to life, but also metatextually another instance of that tears/blood motif and its ramifications constant through the whole text. Erasing that climatic decision and making him just simply suicidal erases those aspects of Christian and his place in the Christian/Cyrano/Roxane dynamic, all for plain superficial angst, that perhaps hits more in the moment, but holds less meaning.

Being more literal, and more solemn, Hooker's translation (or any of the others, but Hooker's seems to love the characters and understand them) doesn't make these conceptual mistakes. Now, would I not recommend reading Burgess' translation? I can't also say that. I had a lot of fun reading it, despite the occasional anger and indignation haha Would I recommend buying it? I recommend you give an eye to it first, if you're tempted and can initially only buy one.

You can read Burgess' translation entirely in archive.com. You can also find online the complete translations of Renauld, Hooker and Thomas and Guillemard. I also found a fifth one, iirc, but I can't recall it right now (I could give a look). You could read them before choosing, or read your favourite scenes and fragments in the different translations, and choose the one in which you like them better. That's often what I do.

Edit: I've checked to make sure and Roxane does appear in Arras in the translation. It's in the introduction in which it is stated that she doesn't appear in the production for which the translation was made. The conceptualisation of Roxane I criticise and that in my opinion is constant through the text does stay, though.

[prototypelq]

Reasons to look up/play (if you can) Alan Wake 2:

- this in-universe ad

- multiple music numbers

[liquidstar]

being a re:zero fan means trying as hard as you can to not think about how kenichi and naoko are doing. like i really hope that someway somehow when the story ends, or at some point during it, they at least get somekind of closure. like it makes me so so so sad they love subaru so much they literally love their boy SO much please let them see their boy

[rearranging-deck-chairs]

i am,,,once again,,,,,opening a girlie up hang on is this why i get shadowbanned and my blog deleted? I Am Once Again Opening A IMAGINARY Girlie WHO DOESNT EXIST Up in FAKE FICTION

anyway not even using a knife this time its more of a scurvy scars reopening kind of a situation

[coridallasmultipass]

I am once again begging online shop payment processing companies to allow me to enter a separate name for shipping and separate name for billing!!

It's the same address, I'm just trans and have not legally changed my personal name, but I still prefer to receive mail as my preferred name! Like it's literally my professional name, I do business as my preferred name.

Annoying as fuck, and I don't want to chance my bank rejecting the payment (though I'm sure someone at my bank has put a note to allow it on my account by now, since I've contacted them a couple times before when I realized too late that the billing section didn't let me input another "address/name" section, and they said the payment was fine in those cases.)

Anyway, legal name changes should be free and non-advertised for everyone. Tbh, you should get a free name change every time you file your taxes on time as an incentive for good citizen behaviour. Once I am elected pres-

[roobylavender]

i missed that class what dont you like about starlins rendition of their relationship?

(and also like, DID you think he did something in particular well or was it all…meh

the crux of my issues in this regard stems from batman #416. in the post-crisis era you began to see this way more lopsided depiction of bruce and dick's relationship wherein the former was portrayed to be almost.. bitter that dick had moved on to establish his own life. and it stood in great, great contrast to the bruce of the pre-crisis era, who was certainly devastated at the realization that dick was growing up, but also very intent for him to find his own happiness and way in life. they would have their disagreements on occasion (e.g., bruce initially disapproving of dick dropping out of college, bruce immediately taking leadership of a situation where the titans were involved when dick was better equipped to handle it, etc.) but the outcome of those situations was never outright bad yknow. bruce was very much capable of recognizing where he might have overstepped and subsequently stepped back to let dick have his own space. and i think initially max allan collins expanded on that dynamic in the post-crisis era in interesting ways by juxtaposing bruce's desire to see dick flourish against his own constant fear for dick's life. so instead of mike w. barr's comedic and lighthearted backup stories in early 80s tec where bruce disguised himself to keep an eye on dick's shenanigans and assure himself everything was going alright, you got this more serious confrontation within bruce with regards to his position as a parent. i don't think a lot of people read it that deeply but i've always viewed batman #408 as one of the most sensible depictions of that dilemma. the general complaints tend to be that this issue robbed dick of his pre-crisis decision to retire robin on his own, and i'll concede that as a worthwhile concern. but i don't think it's esp damning what with the implication that bruce no longer wants to be the person indirectly making the decision for dick to continue to be in this line of work. their moment at dick's bedside is less about bruce robbing him of the decision and more about him saying, if i let you still be robin, that's a direct reflection on me, bc i'm the one who got you to do all of this originally. i'm the one who put you directly in harm's way. if you're going to do this from now on, you need to do it on your own terms. you need to decide for yourself that this is who you want to be, without your relationship with me even being a factor.

it's a moment contributive to that delicious dynamic between them wherein every decision bruce takes to service dick's agency is inevitably read the wrong way by the latter to imply that he's not valued or not worthy of being seen as bruce's equal (and before the hounds pounce on me this obv does not include the increasingly abusive depiction of their relationship as the 90s progressed). that is an unavoidable dilemma when you're simultaneously someone's ward/adopted son and also their partner-in-crime! dick wants to be bruce's son and to be entitled to all of the love and care and protection that that entails but he also wants to be bruce's brother, his equal, his confidante, the one person he trusts more than anyone else in the world, etc. it's a tough place to be! it is paradoxical! and i'm so, so open to seeing that explored and think the way collins attempted to approach it in #408 was marvelous. but the way starlin (and other writers as well) totally swerved right in #416 to create this sudden resentment in bruce that dick had grown out of needing him was.. so utterly bizarre. like completely out of left field in a way i don't understand why people don't question it anymore bc in light of everything in the immediate fifteen years prior to the crisis it makes so little sense. their relationship with each other was so valued, bruce was so anxious to see dick establish himself while nonetheless maintaining a protectiveness over him, but it was all very much in good will even if he could overstep on occasion. it had all of the potential to allow for a very nuanced, empathetic exploration into the dilemmas of parenthood and esp when you are someone like bruce who has to forever live and contend with the crime of taking kids with him out onto the streets. bc he has to feel guilty! there is no escaping it. this is history, done and dusted forever, can't go back in time, so on and so forth. whatever harm comes any robin's way he has to live with as in some part being traceable back to his own actions. and i frankly believe that would be far more likely to evoke grief and anxiousness and concern than it would be bitterness that his son is charting out his own life

[chaotictomtom]

i wish i could talk to mr flawedpeacock directly rn abt his system theory. some parts are fun and could make total sense but yeah. fingerprints my guy. and so many other things. YEAH SPLIT IS BAD REP BUT I PROMISE THEY WERE GOOD REP BEFORE I SWEAR. HEROES IS SUCH A GOOD CASE PLEASE PLEASE LET ME TALK TO YOU ABT HEROES. doom patrol is more recent ig but yeah these two are perfect exemples of plural system w/ powers W/O TROPE OF BAD MONSTER - WILL KILL EVERYONE. the game "her story" being a system story would. kinda piss me off keeping the narrative that DID = killer. the united states of tara was also ig okay rep at the times too. anyway i had so much more to say and wish i could just converse with mr floppy

[butterflieswhisper]

i was genuinely planning to watch more of ratastrophe tonight but i started it, got to "[you whispered to unidingo: please don't die out there yet] I think their hunt is more successful if i'm not there" and my phone case literally fell apart in my hands. so.

[theamazingannie]

Kinda crazy how people will call out celebrities for not speaking up on political issues and then a celebrity WILL speak up on that political issue but doesn’t do it in exactly the way these people want so they’ll call THEM out too and it’s like why tf would anyone want to do anything these days if every action they take gets them called out???

[musical-chick-13]

.

[southernvampire]

just got to act 3 and I'm not ok. that conversation in the pistis sofia... after going through everything, losing a lot of people, your time running short and getting sicker by the moment, the option for V to trust Johnny almost completely is there.

the realization (for my V in particular) is that yeah, he would take a bullet for Johnny. yeah, he does want corps to burn, no matter how impossible that actually is. yeah, he will let Johnny take over to talk to Rogue and trust him with his body, because at this point, what else does he have to lose? Johnny needs his body to survive just as much as V does. and when Johnny tells him that he'll help V and be ok with being wiped out, V believes him. no matter if Johnny is actually trying to trick him or what everyone has told V about Johnny, he chooses to trust him.

in the moment, he doesn't worry about the reasoning behind it, if his mind is slowly turning into Johnny's or if he's just being stockholmed by Johnny, because he's seen the look on his face when a relic malfunction happens, heard the hitch of concern in his voice each time. and yeah, that concern is for himself, but also for V. he can almost feel Johnny's emotions in those times.

after that conversation, he realizes that he loves Johnny in a way that he can't quite put his finger on. like not being able to help but love a part of yourself simply because it's you, except Johnny isn't V. not yet, if Hellman was right about how this was all going to go down. but it's more than that. he also loves Johnny like a childhood friend you've always had feelings for, but know nothing will ever happen of it so you choose to be by their side through the years to be close to them and care for them in a way they will accept. except they've barely had time to properly know each other, yet they know each other more than anyone else has ever had.

whatever feeling it is, it is intimate and selfless and bordering on being completely, unapologetically unconditional. and though he doesn't have proof, V thinks that Johnny might be feeling the same, or similar, feeling toward V, whether or not it's solely based on his own need for survival.

he realizes that he doesn't exactly want Johnny to go away, not completely, and he's not sure if he could deal with the loneliness in his mind afterward, or the guilt if anything happened to Johnny's construct. he needs Johnny, cares about him, partly because they're slowly melding together into one, but also because he doesn't have anyone else he's ever been this vulnerable with, and he senses the same might be true for Johnny. he doesn't want to let go of Johnny, but deep down he's also not ready to die, his self-loathing be damned.

the pistis sofia is a great place to die, but not today, so he'll keep trying to find a solution. but the odds aren't looking good, and if it comes down to it, he doesn't know if he'll be able to choose himself over Johnny.

[forcedhesitation]

I love that steve is in dbd because I do not have to give a shit about stranger things itself to get new material of him. I can just explore what his adventures in the entity's realm might be.